So, first a warning, Konstrukt and Haino have named this new live album with the same title they gave their previous studio album. This is giving certain streaming services indigestion, making it rather hard to tell which album is which. I recommend you purchase the album from the above bandcamp link.

If you’ll recall, I was quite enthusiastic about the previous studio Haino/Konstrukt collaboration of the same name.

The new live album is composed of two long live tracks and I am no less enthusiastic. If anything, I think this is album even more fun than the previous studio one.

Where the studio album was a bit more atmospheric, reminding me a bit of Einstürzende Neubauten in places, this is far more direct in its energy, running right out of the gate. Slowing down a bit for the odd synthesizer break, then being abused back into a trot via some very distorted guitar, and then segueing into a sax freakout that is truly one for the books. And that’s just the first 15 minutes.

As I said before, “Far Freaking Out!”, or perhaps in this case I should say, “Even Further Freaking Out!”.

This one surprised me. I am pretty familiar with Haino, but only have heard one other album by Turkish improvising group Konstrukt.

Konstrukt included synthesizers in this line up which gives it an altogether more SciFi feel than their album with Marshall Allen, “Vibrations of the Day”. This is all over the place in a most enjoyable way, ranging from folkish melodies, to full on SciFi freakout, to something that is nearly modern electronic music.

Marshall Allen is one of the great masters of the Alto Saxophone. Full stop. However, most of his life’s work has been consumed with propagating the vision of Sun Ra and his Arkestra. It’s rare you get to hear him blow outside of that context, so take those opportunities when you can get them.

KonstruKt’s interstellar tendencies are a fine match for Marshall Allen. It is especially fun to hear him spar with Korhan Futaci’s Soprano playing. As always, Mr Allen never lets anyone get too comfortable without challenging them. Too much melody, and he’ll take you out with an altissimo figure. Too abstract, and he blows you down with a bluesy noir lick.